Current Music Blog

Josh Heller from Online Comedy went to Fever Ray last night at the Fonda in LA. This is his recap and some YouTube clips from the show. —SNK

Last night I went to the Music Box at the Fonda to see the most anticipated show of the year. That may be a subjective claim, because my friend convinced me to buy tickets six months in advance, he was sure this show would sell out. He ended up forgetting a ticket, and bought one at the door.

We edged our way towards the stage, for the last ten minutes of Nosaj Thing’s set. I wish we got their earlier because I’m a sucker for the ethereal dancey bleeps and bloops that come out of people’s computers. Instead, I was splitting a #3 at Roscoe’s Chicken and Waffles. The curtains closed after his set, and the house lights went on. Strange mood-setting ambient sounds trickled out of the speakers. My friend said it sounded like we were about to be attacked by The Smoke Monster from LOST.

Fortunately we didn’t get attacked by any monsters, just a parade of drunk girls, who apologized for being so annoying.

The tempo of the hypnotic music moved faster, then the curtains finally opened. The audience was blasted with fog, air-conditioning, and the scent of patchouli. It smelled like a used-record store inside of a Wal-Mart. Smoke filled the space. The men standing in front of synthesizers and percussion, wore tall hats and Age of Enlightenment make-up. They looked like they’ve been haunting Versailles since the 1680s. Fever Ray, née Karin Dreijer Andersson, entered the stage dressed inside of what looked like a buffalo.

Lasers formed a virtual tent above the crowd, as she started her hour long set. The light show was very impressive. The lighting changed for each song during the performance. At one point antique lamps illuminated on beat, making you feel like you were at Disney’s Haunted Mansion. The coolest laser effects acted like an iTunes visualizer.

I’m very happy that I didn’t arrive at the concert in a time machine. If you had time-traveled from Colonial Massachusetts  you’d be sure that you were witnessing a Pagan ritual. At some point Fever Ray took off her buffalo, and the spotlight shined on to this spooky lady, who vaguely resembled the witch from Army of Darkness.

During the performance she moved her hands into the shape of a triangle. I’m sure this led conspiracy theorists to say she was a mason and a member of the illuminati. It led me to say “HOV” and presume that she was in fact Jay-Z.

She played her entire album, and I didn’t even get bored until the last two songs. Which is very impressive, because at most shows I’m bored after the first few minutes. Fever Ray played an excellent show that outstandingly translated the eeriness of her album on to the stage.

It would suck though, if you thought you were going to a Sugar Ray concert.

If you ask me, the Avett Brothers are the best thing to come out of North Carolina since vinegar based barbecue sauce. Granted, Cry of Love, Warren Haynes, and Benji Hughes are all amazing, but the Avetts are cooler than Michael Jordan and cigarettes.

A few weeks ago, I went and saw the Avetts at the Orpheum. (Sold out immediately). Now, I kind of hate seeing shows in LA, because the crowds suck and the beer costs more than optioning a good novel to bastardize on the big screen. Everyone in LA likes to act like they’re cooler than the band and they just sort stand around talking to themselves and wait for someone to look at them. However, from the second the Avetts walked on stage, the crowd was on their feet, dancing, hootin’ and hollerin’, pumping their fists and pointing (we do that).

I have never seen a crowd like that in LA, and I’ve been to Phish shows. (Don’t judge me, it’s the best place in town to get mushrooms). But I swear, beyond even just live shows, I’ve never seen people in Los Angeles care about anyone like that, and I’ve seen bodies flung from cars on the freeway. I was pretty fucking flabbergasted.

Like so many of my other favorite bands, the Avett Brothers started out playing in a loud rock band with electric instruments and all the usual noise, but around 10 years ago, they found their voice, pickin’ and grinnin’ and drinking beer on their porch in North Carolina and developed a completely unique rock ‘n’ grass sound that is rooted in generations of Appalachian music and Americana while also emoting an earnest punk rock passion. Yeah, it’s wild.

They spent the better part of the last 10 years playing 200 shows a year anywhere they could, ranging from seedy bars that reeked of booze and vomit to campgrounds that probably also reeked of booze and vomit. From those DIY shows, they built a massive grassroots following and became one of the biggest underground acts in the South. Enter Rick Rubin.

Now if you don’t know who Rick Rubin is, I really have no idea why you’re reading this, but suffice it to say, there is no equivalence of Rick Rubin in any other industry. Do your own research or just trust me: he’s the man. Rick was so moved by the Avett’s previous album Emotionalism (it’s fucking great) that he had to work with them.

I don’t know exactly how it all went down, but I’m guessing it went something like this: Rick walked into the studio, ran his hand through his beard a few times, took a sip of some kind of tea I’ve never heard of, then he offered some of that tea I’ve never heard of to everyone, exhaled audibly though is nose, and said “This is great. Really great. The banjo and kick drum are cool. It’s wonderful as is, but how about one of you gets behind the drum kit and one of you plays some keys on a few of these tracks. You can do that, right? Cool, let’s do it.” And they did.

By doing that, Rick Rubin did what only Rick Rubin can: he insisted they keep their unique sound, but also made it more commercially palatable, and the result is fantastic. Get it here. Or watch some more clips below and realize that you must have this album now.

This one’s from the show at the Orpheum. Ironically, there’s a good chance, that’s my big ol’ head that keeps blocking the camera and pissing me off. I refuse to sit down. Even for the slow ones. So you can suck on that.

This one’s from the previous album, Emotionalism. It’s amazing. Get it. Holy shit, it’s only $5 for the mp3 download on Amazon.

This one’s from their EP The Second Gleam. It’s a beautiful song, however, if I get murdered in the city, you damn well better go revengin’ in my name. Other than that, this song is perfect.